OBERIU and the Conversations of the Lipavsky Circle

2021 ◽  
Author(s):  
Eugene Ostashevsky
Keyword(s):  
Social Aspects ◽  
Embodied Knowledge ◽  
The Real ◽  
Avant Garde ◽  
History Of ◽  
Circle Of Friends ◽  
Daniil Kharms

This article distinguishes the avant-garde group OBERIU and its predecessors, led by the poets Daniil Kharms, Alexander Vvedensky, and Nikolai Zabolotsky and performing openly in Leningrad between 1925 and 1930, from the informal circle of the 1930s, which also included the poet Nikolai Oleinikov and the philosophers Leonid Lipavsky and Yakov Druskin. Prevented from making their writings public, in 1933–1934 members of this underground circle of friends documented their interactions in Lipavsky’s Conversations. A history of the two overlapping groups, emphasizing their social aspects, is followed by a synopsis of the philosophy of the circle. The article argues that the montage-based composition paradigms of the avant-garde, replacing determinism, causality, and rationality with contiguity and the non sequitur, are reflected in Kharmsian play with numbers and in his concept of the “real,” as well as in the phenomenological methods of Druskin and Lipavsky, which seek perspectival, qualitative, and embodied knowledge that science cannot grant.

5. Aesthetics and the other

2019 ◽  
pp. 56-71
Author(s):  
Bence Nanay
Keyword(s):  
The Other ◽  
Social Dimension ◽  
Social Aspects ◽  
The Real ◽  
Past Exposure ◽  
The Social ◽  
History Of ◽  
Interpersonal Dimension

‘Aesthetic and the other’ looks at the interpersonal dimension of aesthetics. Aesthetics is rarely a solitary endeavour. We are social beings and there are very few aesthetic situations that are devoid of all social aspects. The discussion of the social dimension of aesthetics in the history of ‘Western’ aesthetics has been dominated by aesthetic agreements and disagreements. But the real question about aesthetic agreements and disagreements is not about who is right and who is wrong. It is about the ways in which our experiences depend on the allocation of our attention, our background beliefs and knowledge, as well as our past exposure.

scholarly journals Master Peter: A Few Sidelights on Daniil Kharms’s Biographical Myths

2020 ◽  
Vol 3 ◽  
pp. 217-231
Author(s):  
A. A. Kobrinskii ◽  
Keyword(s):  
Security Service ◽  
History Of ◽  
Circle Of Friends ◽  
Daniil Kharms

The publication outlines the lifestory of the stage artist and decorator P. P. Snopkov, the former husband of the artist A. I. Poret and a member of the circle of friends of Daniil Kharms. Using the documents discovered in the archives of the Federal Security Service, the author traces the history of Snopkov’s arrest in the besieged Leningrad, in order to establish the sources and essence of the charges against him. The data on the investigation of Snopkov, protocols of interrogations and confrontations have not previously been published.

Inventing the Past, Reimagining the Future: Remembrance of Irish History in Aisteach

2020 ◽  
pp. 75-102
Author(s):  
Timothy Diovanni
Keyword(s):  
Future Generations ◽  
Cultural Inheritance ◽  
The Real ◽  
Irish History ◽  
Avant Garde ◽  
The Past ◽  
Invented Tradition ◽  
History Of ◽  
Compositional History ◽  
Historical Past

In January 2015, Jennifer Walshe, a contemporary Irish composer, in collaboration with a handful of Irish artists, musicians, and composers, published Aisteach, a fictional history of an Irish avant-garde. The contemporary artists invented an ‘archive’ of Irish avant-gardists, who allegedly lived in the nineteenth, twentieth, and twenty-first centuries, writing their histories and composing works attributed to them. The creators then built a website that includes articles on the imaginary artists, recordings of their works, and images of their art, among other resources. Aisteach continues to expand as more people contribute to it; the most recent exhibition, which occurred in Sligo, Ireland in September 2018, introduced more imaginary artists into Irish history. Including many female and LGBTQ figures, Aisteach constructs a more diverse and inclusive history of Irish art and music that in turn casts a new light both on the real historical past and the present musical and political scenes. Through this invented tradition, the Aisteach creators also evoke alternative memories that fill in gaps in their nation’s compositional history, enable future generations of artists in Ireland, and work through their cultural inheritance to reshape and, in some cases, reaffirm conceptions of Irishness.

scholarly journals The Story of a Drawing from Chukokkala Miscellany

2021 ◽  
Vol 26 (1) ◽  
pp. 33-42
Author(s):  
Larisa N. Anpilova
Keyword(s):  
Detailed Analysis ◽  
Public Figure ◽  
Biographical Information ◽  
Avant Garde ◽  
Literary Life ◽  
History Of ◽  
Circle Of Friends ◽  
The Creation

A novel detailed analysis of a page from Chukokkala , Korney Chukovsky's handwritten miscellany with drawings by Yuri Annenkov, dated March 1923, is given. Involvement of archival sources makes up the history of the drawing creation. It turns out that Annenkov worked at the page of the miscellany and the portrait of Leo Trotsky at the same time. The analysis of the stylistic features of the drawing reconstructs the elements of the literary life of the 1920s. The study of the depicted persons clarifies the circle of friends and associates of prominent cultural figures of the first post-revolutionary decade. The article provides little-known biographical information about the characters depicted in the drawing. It specifies how Annenkov met Gorky's closest associate, the prominent public figure Albert Pinkevich. The author highlights little-known facts of friendship of A. Pinkevich, Boris Pilnyak, a Soviet writer, and the avant-garde artist Boris Shaposhnikov. The history of the creation of graphic portraits of Soviet writers made by Annenkov is considered. In conclusion, the page of the handwritten miscellany, and Chukokkala as a whole, are presented as a unique monument that captures the living passage of time.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Chasing Angels: The Sweet Wine Angelica

2008 ◽  
Vol 8 (3) ◽  
pp. 74-78
Author(s):  
hank shaw
Keyword(s):  
The State ◽  
The Real ◽  
Mission Period ◽  
History Of ◽  
Uncertain Future ◽  
Sweet Wine ◽  
Made In

Portugal has port, Spain has sherry, Sicily has Marsala –– and California has angelica. Angelica is California's original wine: The intensely sweet, fortified dessert cordial has been made in the state for more than two centuries –– primarily made from Mission grapes, first brought to California by the Spanish friars. Angelica was once drunk in vast quantities, but now fewer than a dozen vintners make angelica today. These holdouts from an earlier age are each following a personal quest for the real. For unlike port and sherry, which have strict rules about their production, angelica never gelled into something so distinct that connoisseurs can say, ““This is angelica. This is not.”” This piece looks at the history of the drink, its foggy origins in the Mission period and on through angelica's heyday and down to its degeneration into a staple of the back-alley wino set. Several current vintners are profiled, and they suggest an uncertain future for this cordial.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

EXPLORING HEALTHCARE ARCHITECTURE THROUGH THE MEDIUM OF FILM: Motives and Techniques

2014 ◽  
Vol 8 (1) ◽  
pp. 29
Author(s):  
Stephen Verderber
Keyword(s):  
Real World ◽  
The Real ◽  
Healthcare Settings ◽  
Interdisciplinary Field ◽  
Body Of Knowledge ◽  
Behavior Setting ◽  
Physical Environments ◽  
Scant Attention ◽  
History Of

The interdisciplinary field of person-environment relations has, from its origins, addressed the transactional relationship between human behavior and the built environment. This body of knowledge has been based upon qualitative and quantitative assessment of phenomena in the “real world.” This knowledge base has been instrumental in advancing the quality of real, physical environments globally at various scales of inquiry and with myriad user/client constituencies. By contrast, scant attention has been devoted to using simulation as a means to examine and represent person-environment transactions and how what is learned can be applied. The present discussion posits that press-competency theory, with related aspects drawn from functionalist-evolutionary theory, can together function to help us learn of how the medium of film can yield further insights to person-environment (P-E) transactions in the real world. Sampling, combined with extemporary behavior setting analysis, provide the basis for this analysis of healthcare settings as expressed throughout the history of cinema. This method can be of significant aid in examining P-E transactions across diverse historical periods, building types and places, healthcare and otherwise, otherwise logistically, geographically, or temporally unattainable in real time and space.

From the history of the NKVD “national operations” in 1937, 1938 years in Kyrgyzstan. Repression of ethnical minority

2020 ◽  
Vol 2020 (10-3) ◽  
pp. 126-135
Author(s):  
Bolotbek Abdrakhmanov
Keyword(s):  
New Materials ◽  
Foreign Nationals ◽  
The Real ◽  
History Of ◽  
Ruling Party

To analyze the repressive policy of the ruling party and NKVD organs towards the foreigners who lived in Kyrgyzstan in 1937-1938 years. The real materials being used in this research make it possible to think over the events of that complicated period in a new way and give them certain appreciation. Therefore the main aim of the article is to bring together new materials to through the light on the nature of the mass repressions towards a number of soviet citizens as foreign nationals.

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